#not much analysis in this one

[improvapocalyps]

You have 90 minutes to complete. (original poem: r.a.)

In participation of the MCYT Recursive Exchange 2024 hosted by @mcytrecursive!

Inspired by know that all my love will be your breath (i will save you when your lights go out)

[text under cut]

1. Have you ever been in love? (Please circle your answer.) a. It's me and him b. Our hearts beat in sync c. Our lives intertwined

2. Do you understand what you’ve done? (Please circle your answer.) a. I couldn't do anything b. I lost my balance c. I doomed us both

3. It's been god knows how long since you felt phantom hands on your neck and there is no one in sight. If you were soul-bound to him and both of you died at the same time then why are you still waiting in the void? Please answer clearly, in full sentences. (Not a correct answer：I just wanted to see him one more time).

4. Define two (2)： Fate | The feeling of his forehead against yours Curse | The moment you realise he isn't linked to you anymore

5. True or False： i. It was your fault. ii. You wish you had met him under different circumstances. iii. You can’t regret a single moment that you had him. iv. You would do it all over again if you could. v. It ended long before either of you said anything.

thumbnails:

sketch cover thing for imgur link:

[opbackgrounds]

This idea is so, so important to the series in general, and Brook in particular. There are times in One Piece where people die for noble causes, and others where people act knowing that there's a good chance that they could die, but knowingly choosing death over life is never portrayed in a positive light.

As someone who views One Piece through the lens of Romantic literature, this is really important because historically the Romantics, er, well, romanticized suicide and death and the historic last stand. It's doubly interesting to me as a Japanese story, with Japan having its own long, complicated history with the concept of honorable death.

One Piece directly challenges both of these ideas, with life and living being romanticized instead, even if that means you have to get on your knees and beg for it like Brook does with Ryuma later on.

And it's a tightrope that story has to balance. Nami willingly lived under to boot of the man who killed her mother for years, but there came a time when enough was enough, and both she and the village had to stand up and fight for her freedom. She carried that lesson to her fight with Enel, even though she was hopelessly outmatched and would have been reduced to a greasy smear if Luffy hadn't shown up to save her. Within the context of the story both instances were portrayed positively, with Oda indicating through his writing that she had made the correct decision.

But that's not what's happening here. This is Luffy being willing to run away at Sabaody because he knew the Pacificas were too strong. This is Usopp lambasting the samurai at Wano for rushing toward their deaths rather than living to fight another day.

It's Brook knowing he made a promise to a friend, and doing everything in his power to keep it, even if it meant looking like a sniveling coward groveling at the feet of his own shadow.

[rainofthetwilight]

when you slow down this scene, there's a little detail that–while not really noticable–arin's reactions are a little later than the rest, and his facial expressions shift alot moreso than the others, showing how he's probably pretty unfocused

and with that detail, kai seems to be the one who's the most focused, as even nya and lloyd's expressions occasionally shift (lloyd being the most out of the three of them), while he stayed unchanged the entire time

[poorly-drawn-mdzs]

Gaslighter? I hardly know her!

[First] Prev <–-> Next

[hildegardladyofbones]

One of the best things about Disco Elysium by far is that it does not fear ugly women. The world is full of ugly men, but ugly women are so hard to come by.

[sassypantsjaxon]

Listen. I know most of the earlier one piece movies aren't really canon, but I am obsessed with the implications of Saga in the Cursed Holy Sword, because he really adds a layer to Zoro's relationships with his rivals.

Okay. First, there's Kuina. His first rival. The one he can never beat. The promise to become the greatest. Untouchable, indestructible, until she isn't. Wado Ichimonji.

Then there's Saga. His next rival. They're more equally balanced. They're both orphans. There's an understanding there. A more even footing that he didn't have with Kuina. A gifted short sword instead of an inherited katana.

And Sanji. The proof of Zoro's rule of three. Twice over, in fact, third rival, third son. Never gives Zoro an inch in a fight, but doesn't hesitate to give him food afterwards. He doesn't fight with a sword, so there's no blade shared between them. Instead there's a much heavier promise.

Kuina dies. Saga dies. Both so close to Zoro, and he couldn't even do anything. Of course Zoro's worried when Sanji boards the sea train by himself. Of course he pushes Sanji out of the way at Thriller Bark. Of course he's angry with Sanji when he runs off to Whole Cake.

Zoro's already mourned his first two best friends rivals. Does he really have to go through that again?

Maybe Kuina wouldn't have fallen if Zoro had never asked her to fight him. Maybe if Zoro had been a little better he could have saved Saga. Maybe Zoro will have to kill Sanji himself.

[starry-bi-sky]

jason and danny childhood friends au memes (mild spoilers)

[gayofthefae]

Shoutout to the writing of and inclusion of the line "Yeah, for Mom's work" that just so clearly makes sure to clarify: this is not characters who don't like each other. This is siblings fighting.

Will sees Joyce as El's mom and El as his sister and that is not revokable when he's mad, it is a universal truth to him now. He's upset with her but he is upset with his sister and they wanted to make sure you knew that that's what this is to him. This isn't season 3, he isn't tense with his crush's girlfriend. He's just having a squabble with his sister, which she is first now.

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[sophiamarieispinkbunny-chan]

Loid "Cannot be separated to his wife without missing her for even just a couple of minutes/hours" Forger

This man didn't even touched his cake since he's waiting for his wife to come back so they can eat the cake together while Anya is already devouring her piece 😂😂 It's sweet for him to have this habit that he eats when Yor eats as well. What a husband attitude. And did you see how he defended Yor's innocence in this chapter?

He always gets so defensive when it comes to Yor, since Camilla's party, he defended her in front of her coworkers, in the Eden interview when Swan badmouthed her ability as a mother, he defended her and he was genuinely upset with the way Swan embarrassed his wife, when Nightfall said that Yor's being uncooperative and she should be replaced as his wife, his tone and glare changes into a defensive demeanor. Loid always comes to her defense without missing a beat, and he wasn't calculating those reactions, he did these without the mission on his mind.

This man is already slowly falling in love with her from the very beginning and I think by the time Yor's secret would be revealed to him, not even her real identity as a killer would stop him from being with her for he's already and irrevocably down bad for her

[opbackgrounds]

I love Brook for many reasons. For my entire adult life I've worked with old people, and when interacting with that demographic it's really easy to take Sanji's point of view. I have cared for so many elderly burdened with a lifetime's worth of pain, suffering, and death. Like Brook spending fifty years alone on a boat, their misery and isolation can become banal and everyday. It's easy to slip into the fog of despair

Brook is the person I aspire to be when I'm 90. His life is objectively terrible, and while he doesn't sugarcoat his own suffering, he's able to take simple joy in being alive, in meeting new people and finding new friends. It's a very different take on loneliness compared to characters like Robin and Chopper, but is much appreciated nonetheless.

[madbard]

While listening to Epic, I noticed an interesting pattern with how antagonists are portrayed, and how Odysseus’ interactions with them are coded.

In Epic, the monsters Odysseus faces are rarely fighting for their own sake. Polyphemus attacks Odysseus’ crew to avenge his sheep, and Poseidon destroys his ships as revenge for his son’s suffering. Similarly, Circe only threatens Odysseus to protect her nymphs. Odysseus does not kill any of these enemies, and while he is occasionally criticized for letting them go free, the overall implication is that he did the right thing by sparing them.

Then we hit the Thunder Saga, and Odysseus begins his arc as a ‘monster’ by killing the sirens. His actions here are brutal, and whether or not they are justified is, I think, up to the listener. However, it’s significant that the sirens are the first foes Odysseus faces on his journey who aren’t either defending or avenging what they love. They attack unprovoked, and while Odysseus’ method of execution is gory, he is never punished for it by other characters within the narrative. Apollo is the only one to protest, and even he is swayed easily when Athena says (among other things) that the sirens were “trying to do him worse.” The sirens attacked first, and while Odysseus’ response was ‘monstrous,’ his crew obeyed his commands and he was not challenged or ostracized for giving said commands. He is only treated as a monster when he yields to Scylla, who also attacked without provocation.

Thus, in Epic, the monsters fighting to protect or avenge their loved ones are protected by the very story - killing them may be more convenient, but it isn’t the answer. However, the monsters who attack without provocation, for their own amusement or satisfaction, do not receive such respect. Killing them is acceptable, and cooperating with them is monstrous.

By this logic, Odysseus is justified in his actions, however atrocious. He attacks to protect his family, and therefore deserves mercy.

The suitors, on the other hand…

[greenqueenhightower]

Thoughts on the Larys x Aegon Scene in 2x06:

"He executes justice for the fatherless child and the widow."—Deuteronomy 10:18

Larys visits Aegon as he lies on his bed, healing from his injuries. Aegon is most eager to cloud his mind with milk of the poppy, just as his father had done. As he is handed the vial with the drug, Larys assumes the authority of a family member entrusted with Aegon's care. He purposely withholds the drug from Aegon, to instruct him. He wants to instill in him the conviction that he only has his mind to depend on now. Aegon's mind should be sacred to him, just as it is for Larys.

"You have already written yourself into legend. You have survived dragonfire." Larys begins to bore through Aegon's mind. He is not a mere mortal man. He is a legend. Despite his trembling and silent cowering at the sight of his brother, Aegon should not feel completely wasted.

"I came screaming into this world." Larys breaks the news of the extent of his injuries to Aegon. The young King's distraught and mutilated state stirs up something inside him, something that Larys has long kept shut. In response, he does something remarkable; something we've never seen Larys do before: he becomes vulnerable.

"My lungs were strong but my foot so twisted that my father named it sorcery." Breathing heavily, Larys reveals that he, too, was shunned by his father since birth. His deformity was something that Lyonel Strong never came to accept just as Viserys never accepted Aegon as his son and heir. Larys' fate is akin to that of his King. Aegon's grunts of pain stop and he fixes his attention on Larys.

"They will stare at you... or turn away." Aegon and Larys cry together, the wounds of both exposed bare. Larys lets Aegon in on his inner trauma of being despised and disposed of because of his disability. Does Larys fear that Aegon might suffer the same fate by his family? Does he empathize with Aegon's pain because he sees himself in him? Does he want to prepare him for or shield him from the cruel world?

"They will underestimate you... and this will be your advantage." Larys' face hardens as he reveals the bitter truth. Aegon musters up whatever courage he has to exclaim "No!" and shake his head in disbelief.

"Help me. Please." Larys warns Aegon that his life is in danger and he begs for his help. Aegon has come to trust Larys with his life. Has he found an ally and a friend in him? He now wants Larys to protect him. He turns to him like a refuge in a storm. He knows he can depend on him. Like a child pleading with his father, Aegon's eyes plead with Larys.

Larys responds with his determined face and trademark smirk. What will he do to protect his King? One thing is certain: Larys is a ruthless executioner of justice. He has killed his own family, whose eyes so wickedly and hatefully stared at him, for all the injustices inflicted on him. He has tortured and killed all those who betrayed his trust. He is bound to be equally merciless with those who dare touch or thus dehumanize Aegon. Larys assumes the role of father and protector for Aegon, ready to execute his own version of justice for what he cares about.

And apart from himself, Larys has shown that the only other soul he cares to avenge is Aegon.

[farshootergotme]

"Dick Grayson has anger issues-" okay, but does he actually? When I thought that was true I come to find that most of the evidence to make that claim come from a time in which Dick was being mentally controlled by Brother Blood or right after the death of his parents which obviously would cause anger after finding out they didn't even die naturally but were murdered on top of that.

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[taiturner]

"I think everyone’s first impression of Travis when they saw him on screen, people got an emotionless guy who doesn’t care about anyone and can’t show human emotion. And I was super happy when those were the comments coming out, even though it seemed negative, because that’s exactly what seemed important to me was this guy is going to hold it to his chest, any sort of emotion he has, and you’re barely ever going to see him give you a glimmer of it. I thought about when I was that age, and then I thought about the time period on top of that, and when I was that age, I already didn’t want to give people anything that felt like someone could come back at me with. It’s that protective, 'I don’t want to give someone something they’re going to use against me.'"

"So Travis has those walls built up, but on top of that, the way that he creates those walls is different than mine, where in 1996, it would be misogynistic comments coming at you, attacking you, rather than quiet. It’s not just quiet. He retaliates. That was really important, and the writing is what gave me that. As an actor, it’s our job to justify and figure out why. Why a writer put this in, why is this here, why is it important. That’s how I tried to build how he created his walls. I just read the script and went, ‘Where do they see him? Where is he on the spectrum of hiding himself?’ And I tried to draw from myself, but also from the writing, but also from the time period. It was really just a balance, because even as the episodes go, the writers allowed for Travis to have moments that changed the way that he was perceived and how much he gave people and how much he emoted. I’m glad the negative qualities came out in the sense that he does have toxic behavior that he throws out there quite often."

“It was a big point to me when I was trying to play Travis; none of these people really talked to him before this. There’s gotta be a really reserved quality, a defense mechanism quality to him because these people never cared about a single thing he said, but now all of a sudden they’re expecting him to act how they want him to act, so there’s a defense, there’s an anger in that. That was something I really wanted to explore. His anger, we definitely explore.”

lgbtq meme: (3/5) headcanon lgbtq+ characters — nonbinary TRAVIS MARTINEZ ft. Kevin Alves interview with Yellowjackets Buzz